New commercial, VRAY for Maya used

[Metzger]

Just wanted to share some of the blood sweat and tears I have been enduring for the past few weeks. All rendering is Vray:

http://www.youtube.com/watch?v=tiaRA...layer_embedded

Used SP1 update from May 31st I believe. Was nice to do a production and have no surprises with Vray for Maya. Just wanted to thank everyone at Chaos group for all help getting the software to where it is currently.

Thanks!!

-Scott

Elevator, Artifact (Meteor), Door, and Mechanical arm are all Vray.

[sandykoufax]

wow, looks very very nice!

[stezza]

Great stuff dude! Could you tell us more about the frame res, render elements and render times ect..

[percydaman]

love the commercial. wish there was an HD version.

[simmsimaging]

Nice work!

[ceql]

beautiful!

[hellobard]

very nicely done! high quality and well integrated 3d with the footage.

[Metzger]

Great stuff dude! Could you tell us more about the frame res, render elements and render times ect..

Well in the end I have no idea what layers were used for the arm. I pretty much had 10 Render layers max. All matte holdouts of each other, the Main outer shell pass was about 25 mins on average a frame with motionblur. I think the settings were 2048x1556 min 1 max 25 threshold .015

Then internal metal of the hand was about 15-20 a frame matte holdout of other geo, and there was a really long pass that looked just stunning, but it wasn't used because there was no way for me to properly pull mattes, or adjust the internal refracted reflection elements of this cool sillica refracted pass. That pass took about 1 hour at 2k which was still super fast rendering. The current version I am using with Vray has a light material refraction bug where if you go to the renderpass for refraction, you don't see the light material rendered in it, but it always shows in the beauty. Since the refraction is being selective, why can't we have refraction passes fully explode out like all diffuse, reflection, gi, lighting, etc? I don't like having a locked in refraction pass where my only option is to add as is.

[pechart]

Very nice work!

[Reaversword]

Great job!!

[aweidenhammer]

Great work on that Scott! Looks fantastic! Saw it on air the other night and it blew me away.

[jstrob]

Wow! Superb!

[bradon]

wow nice work. I saw this in the movie theater the other day! can you tell me which GI method you used. we have been having lots of issues using vray in production and we can only hope to learn more from successful productions such as this one. specifically do you use IR map + LC or do you use BF? those are some pretty good frame times.

[Metzger]

wow nice work. I saw this in the movie theater the other day! can you tell me which GI method you used. we have been having lots of issues using vray in production and we can only hope to learn more from successful productions such as this one. specifically do you use IR map + LC or do you use BF? those are some pretty good frame times.

Only the elevator shot had GI used and it was Primary brute force, secondary light cache. All other shots didn't use any GI at all. I think the largest misconception with Vray is the assumption that you need to have GI always turned on. That really isn't the case. What's important to me is using rect lights with really good hdr textures. Also having a killer linear workflow color pipeline is more important than anything. That's where Nuke really comes into play with Vray. Neutralize your plates, your hdrs, and use a viewer lut to add the grade in the VFB when rendering. Even the textures you use should be neutralized and matched to the neutralized plate. Also never render rigs, have a proper geo cache system in place. When I have artists with render issues 90 percent of the time is because they have all sorts of geo construction history, and or rigs attached in the scene.